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LIBRARY OF CONGRESS 



027 249 637 7 




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NEW MODE OF ILLUSTRATING 



ELOCUTION, 



WITH EXERCISES FOR PRACTICE 



BY 



PROF. T. HARRISON, A M 



A full knowledge of the principles and practice of an art enables an industrious 
and ambitious votary to approach perfection ; whilst idle followers are contented 
with the defaults of imitation. 

Rush's Philosophy 



SHELBYYI1 l.K. IND 

M . B. ROBINS, PUBLISH E I 

1874. 

R. SriCBR, PRINTER, EM ELSIOR JOlt 



Ent«r«d according to Act of Congress, in the year 1874. by M. B K BINS, ii th« Office of the 
Librariaj .>f Congress, at Washii 



Prof. Harrison having produced a new work on 
Elocution, his publisher deems it proper to insert a few 
notices of his instructions as an elocutionist, and his 
efforts as a public speaker : 

Prof. Harrison gave a lesson of rare excellence in reading and elocu- 
tion, [in Jackson co. Teachers' Institute.] His analysis was searching 
and accurate, and his voice full and rich. If Prof. Harrison does such 
work as this generally, his instructions will be of great value in Insti- 
tutes. — Prof. Hoss, Editor of Indiana School Journal. 

Prof. Harrison ranks amongst the highest grade of elocutionists. — 
Rev. Dr. Moody, cor. of Cin., Gazette. 

We, members of a class in Elocution, taught by Prof. Harrison, [in 
Fayetteville, Ind.] being convinced of the superior excellence of his 
method of teaching, and the great value of the charts prepared by him, 
would recommend his method to all interested in the study of Elocu 
tion, and the introduction of his charts into our public schools. — Prof. 
J. Gamble, Rev. A. Sleeth, and Rev. I. B. Long, Committee. 

Prof. Harrison having given us a course of instruction in elocution, 
and, being fully satisfied that his mode of teaching is calculated to 
make good readers and effective speakers, we hereby express our en- 
tire confidence in his ability as a teacher, and o*r admiration of the 
elocutionary passages he uses, and his mode of teaching them, nature 
being his only and constant guide. — Class in Quakertown, Ind. 

Prof. Harrison delivered a very able and instructive lecture on elo- 
cution in the college chapel on Tuesday evening. — Brookville Dem. 

A class in elocution, conducted by Prof. Harrison, submitted each 
day to the closest drill. In vocal training this was a rare opportunity. 
The charts were based on Bronson's Elocution and Dr. Rush on the 
"Human Voice." Most persons will go home better speakers- and 
readers for this vocal exercise. — Report of the Teachers' Institute held 
in Vernon, Ind. 

Prof. Harrison having given a course of lessons in elocution at this 
place, [South Charleston, Ohio,] a unanimous call was made for another 
course, which was given with great satisfaction: we therefore take 
pleasure in stating that we regard him as a competent instructor. — Rev. 
R. Story, Supt. of School. 

Having attended a course of lectures in Elocution given by Prof. 
Harrison, we are fully satisfied with the same; and cheerfully recom- 
mend his teachings to all who desire instruction in this useful art. — 
Rev. W. J. Peck, Rev. A. J. Stubbs, Rev. J. Neer, J. Smith, Attorney 
at Law, Degraff, Ohio. 

Pro!. Harrison entertained the Institute [of Marion county,] bj 
■ me of the most instructive, interesting, and highly eloquent lecture 

, I >ject of Physiology, to which it was ever our pleasure to listen. 
In subsequent lectures, he treated the subject in his usual lucid style. 
ll is to be regretted that many scientific lecturers are not as happy in 
treating dry science themes as is the Professor. Pie also lectured on 
the subject of elocution, in the usual clear and forcible manner which 
characterizes all of this gentleman's public speakings.— Indianapolis 
Sentinel. 






NEW MODE OF ILLUSTRATING 

ELOCUTION, 

BY 

PROF. T. HARRISON, A. M. 



The historian, Hume, has said, that no one can speak long of himself without 
vanity; and yet it is sometimes necessary for a writer to make a remark in re- 
ference to himself and his productions, for the information of his readers. Such 
seems to be the case now. 

The writer of the present work has made music and elocution his study for 
many years. He is the inventor of the numeral system of musical notation, has 
composed various pieces of music, and published several musical works. In 
elocution, he has studied Dr. Rush's Philosophy of the Voice,* and th« works 
of many other authors, and has also availed himself of the instructions of some 
of the best elocutionists of the day, and has likewise taught the art himself. 
Prof. Hoss heard him give a lesson in elocution, some time ago, before the 
Jackson Countv Teachers' Institute, and did him the honor of thus noticing his 
effort : "Prof. Harrison gave a lesson of rare excellence in reading and elocu- 
tion. His analysis was searching and accurate, and his voice full and rich. If 
Prof. Harrison does such work as this generally, his instruction will be of great 
value in Institutes." Subsequently Prof. Hoss requested the writer to prepare 
a series of articles on elocution for the School Journal. The present work is 
the substance of the series. The great object at which he has aimed is to make 
elocution practical as AN ART. . How far he has succeeded, time and ex- 
perience alone can tell. He thinks, however, he may safely make the remark, 
that the advantages of a method similar to the one here presented, must be ap- 
parent to all. Writers on elocution say a great deal about pitch, time, pauses, 
etc., all highly important, but'- generally not made very definite; while here they 
are given with mathematical certainty. Then, other characters, signs, and 

*This is unquestionably by far the best dissertation that has ever appeared on 
the subject, and the writer here acknowledges himself greatly indebted to its 
teachings. • 



TNfl^ 



terms, are used to express stress, tremor, etc. After the meaning of all these is 
fully learnt, it is believed a ready application of them can be made with little 
or no difficulty. 

CONNECTION OF ELOCUTION WITH MUSIC. 

Elocution, both as a science and art, has a far greater connection with music 
than is generally supposed ; and it will be found that a thorough knowledge of 
the principles of music, and a full course of training in vocalization, will aid 
materially in making a successful elocutionist. 

THE OCTAVE. 
All musicians have to learn the musical scales as one of the first lessons, and 
all elocutionists should do the same. These scales are two in number, the ma- 
jor and minor, to which some add a third, the chromatic. They are generally 
represented thus: 

Major. Minor. 



Chromatic. 



do. 
si. 

la. 

sol. 

fa. 
mi. 



la. 
sol. 



fa. 
mi. 



i — do, i — la. 

Should any student of elocution be unable to give the tones of the major and 
minor scales with facility, it is recommended that he learn them from some 
musician. 

It will be observed that those tones are placed at unequal distances apart. Thus, 
in the major scale, the intervals between 3 and 4 and between 7 and 8, are only 
half as great as between the other tones. That this is natural, is proved by va- 
rious facts. These facts belong to acoustics rather than to elocution or music, and 
hence it is unnecessary to dwell upon them here.* 

*In a work published by the writer, entitled " Music Simplified," the subject 
is discussed at some length. The following extract is given: "The existence 
of a half interval between 3 and 4, and also between 7 and 8, while between all 
the others there ex ; sts a whole interval, is, in the opinion of the writer, nothing 
more than a necessary adaptation in the octave to an unalterable law in the 
musical constitution of the human ear. This opinion receives additional sup- 
port horn the consideration, that if the half intervals be placed in a different po- 
sition, the first between 2 and 3, and the second between 5 and 6, a change is 
produced in the melodious aspect of the octave, the most wonderful and affect- 
ing: the former is sublime and grand; the latter is mournful and plaintive. 
Thus it appears that music has within itself the power of producing two oppo- 
site effects on the human mind: it can enkindle feelings of joy and admiration, 
or excite sensation-, of sympathy and grief. Here is another striking manifesta- 
tion of the wisdom and benevolence of the Infinite Creator: He hat given the 
glorious attribute of variety to the charming science of music in common with 
all the operations of his hands." 



: 



THE SLIDES AND INFLECTIONS. 

The tones of the musical scale are termed discrete; that is, one is discon- 
nected with the other, at least in melody. In elocution, however, we use con- 
crete tones; that is, we slide from one tone to another, so as to mike one con- 
tinuous sound, generally termed an inflection. Any of the tones can be thus 
used, out the principal ones given by Dr. Rush, are the 1 slide of the second, the 
slideof the third, the slide of the fifth, and the slide of the eighth, or octave. 
Dr. Rush represents these slides by characters nearly resembling those used in 
music As those characters are not in common use, it will be more convenient 
and equally appropriate to represent them by numerals,* thus . 

Upward Slide of Upward Slide of Upward Slide of Upward Slide of 

The Secoad. The Third The Fifth The Octave 

ls2 ls3 ls5 ls8 

The letter s is really not necessary, and they may be written thus — that is 
closely together: 

12 13 15 18 

There are also other slides, as from 3 to 5, and from 5 to 8. This will be 
seen by referring to the exercises in this work. 

Thes« slides can be given by but one musical instrument — the violin. The 
D string will suit the best. The only objection to it is, while it is the proper 
pitch for the female voice, it is an octave too high for the male voice. Still it 
will answer. By sounding the open string, D, and then sliding the finger up to 
E, which will require abou^ an inch and an eighth, drawing the bow at the 
same time, the slide of the second will be produced. Commencing again with 
the open string, and sliding up to F sharp, which will require about two inches and 
a quarter, the slide of the third will be produced. Commencing again with 
the open string, and sliding up to A, which will require about four inches, the 
slide of the fifth will be produced. Commencing again with the open string, 
and sliding half way to the bridge, the slide of the octave will be produced. 

By reversing the motion of the finger, and observing the same distances, the 
downward slides will be produced, which may be written thus : 

Downward Slide of Downward Slide of Downward Slide of Downward Slide of 
The Octave The Fifth The Third The Second. 

8sl 5sl 3sl 2sl 

or 

81 51 31 21 

The slide of the second , either upward or downward, is used in ordinary 
conversation on almost every syllable : then when a little emphasis is required, 

*Of the use of the numerals in music, Dr. Lowell Mason says : "Experience 
refutes the notion, that scholars will be embarrassed by singing numerals. If 
they have a correct idea of the minor mode, they will, after some little practice, 
sing the minor scale by numerals as readily as the major. In doing so. they 
acquire firmness, certainty, and independence." The writer thinks the numer- 
als will be equally useful in elocution. 



the slide of the third ; when still more emphasis is required, the slide of the 
fifth; and when the utmost emphasis is required, the slide of the octave. 

Let the following question be asked without any emphasis, and the tones gen- 
erally will be given with the upward slide of the second, except on the third 
syllable of the last word, which will require a greater slide : 

ls2 
Did you say that I could learn elocution ? 

Now let a little emphasis be given to I, and it will be found that the slide of 
the third is used . 

Is3 

Did you say that I cor Id learn elocution? 

Now let still more emphasis be given, and it will b© found that the slide of the 
fifth is used . 

Is5 
Did you say that I could learn elocution? 

Finally, let the utmost emphasis be given, and it will be found that the tlide 
of the octave is used: 

ls8 

What ! did you say that I could learn elocution? 

Again : Let the simple statement be made, 

2sl 
He said that I could learn elocution, 

And it will be found that the downward slide of the second is generally used, 
except, as before, on the third syllable of the last word. 

Next, let it be given with a little more emphasis on I, and it will be found 
that the slide of the third is used : 

3sl 
He said that I could learn elocution. 

Next, let more emphasis be given, and it will be found that the slide of the 
fifth is used: 

5sl 
He said that I could learn elocution. 

'; . let the utmost emphasis be given, and it will be found that the slide 
octave is used : 

8sl 
Yes ! he said that I could learn elocution. 



5 

The use of the downward slides can be shown vejy clearly by applying them 
to a passage in the Psalms : 

3sl 
If I ascend up into heaven, thou art there : if I make 

5sl 
my bed in hell, behold, thou art there : if I take the 

wings of the morning, and dwell in the uttermost 

8sl 
parts of the sea, even there shall thy hand lead me, 

and thy right hand shall hold me. 

Perhaps this intense emphasis would not be suitable in ordinary reading, but 
it certainly would in earnest delivery. 

THE SKIPS. 
Besides the slides, or the concrete tones, skips, or the discrete tones, are usee . 
Thus, if the voice pass from 5 to I without a slide, it would be called a skip. 
From the exercises given in this work, it will be seen that skips are used quite 
commonly. 

THE LENGTH OF TONES. 
The length of time given to each tone may be represented as in the writer's 
numeral system of musical notation, thus : 

Breve Semibreve Minim Crotchet Quaver Semiquaver Demisemiquaver 

il :1 .111 1 1 

Dr. Mason calls the semibreve the whole note, the minim the half note, the 
crotchet the quarter note, the quaver the eighth note, and so on. 
The half-lengthened tone may be represented by a hyphen, thus, 1- 
A rest, or rhetorical pause, may be represented by the letter R. 

UPPER AND LOWER OCTAVES. 
Sometimes in particular passages, it will be necessary to pass into a higher 01 
lower octave. The tones can then be represented as in the writer's numeral 
system of music, thus : 

Lower Octave Middle Octave Upper Octave 

12 3 4 5 6 7 8 

12 3 45 6 7 

12 3 4 5 6 7 

SLIDES FURTHER ILLUSTRATED. 

The remark was made above that "the slide of the second, either upward 
or downward, is used in ordinary conversation, on almost every syllable." Of 
the upward slide, Dr. Rush says, " It is the basis of what I have called the dia 
tonic melody ; and in correct and agreeable elocution, is more frequently used 
than any other interval : since it is appropriate, to all those parts of discourse 



6 

which convey the plain thoughts of the speaker." Again, he says, " A gazette 
advertisement, a legal instrument, and the purely communicative style of plain 
narrative and of description, may generally be read in the thorough diatonic 
melody. But there are few compositions which are addressed to taste, that 
have not their melody varied by the more or less frequent occurrence of 
r he coloring of higher intervals than the second." 

As an illustration of this, let the first verse of the first chapter of Genesis be 
read without emotion, and it will be as follows : 

.r 3 3 3 3 3 .r | .3 r 3 3 3 r 3 | 3 r 3 2 2sl .r|| 
In the beginning, God created the heavens and the earth 

Every one of the tones in this example, has the upward slide of the second, 
except the last. 

If, however, a rhetorician were quoting it as a specimen of the sublime, ov 
a clergyman as a declaration of the infinite power of the Deity — the speaker, al 
the same time being under more or less emotion — he would be apt to give it as 
follows : 

.r3 3 3 3s5 5.r I 3s5r3 3s5 5r3 | 3s5 r3 3 3sl .rIi 
In the beginning, God created the heavens and the earth 

The slide of the second would still be Used on several tones, and, in addit- 
ion, the slide of the third, as indicated. The rhetorical pause, or the rest, 
would be introduced more frequently. A slower movement would also be given, 
and the orotund voice would be employed. 

The downward slide of the second is used chiefly in commands. As an 
illustration, the third verse* of the chapter just quoted from, may be taken : 

33 3r3 3 3 3 j r 3 3 3 2sl .r|| 
And God said, Let there be light, and there was light. 

On the first three tones, the upward slide of the second is used. On the 
next four, the downward slide of the second, and, probably, on the remaining 
ones also, though on some of them, the upward might be used. 

If, however, the passage were given by a rhetorician, or clergyman, under 
emotion, he would be apt to give it as follows : 

3 3 3s5 .e 5s3 | 5s3 a 3 5s3 M \ 3 3 3sl .b 3sl || 
And God said, Let there be light, and there was light. 

The remarks made in reference to the other verse, apply to this also. A slow 
-j) movement should be given, and the orotund voice employed. 



c This passage is given by Longinus as a specimen of the sublime. Tht 
writer has heard it rendered by clergymen in different ways ; some making 
lie word ,: was" emphatic, and others, unemphntic. 



7 

Another illustration of the downward slide of the second, as applied to a corn 
•mand, is given : 

3 3 3 3 2s1.bk3 3 3 | 3 3 3 2sl :r J 
» > »>>»>> it 

Go to your studies, and be prepared to recite. 

The downward slide of the second is also used in strong affirmation, as in the 
following example : 

.R- 3 3 .r 3 | 3 .r 3 3 1 .r || 
I came : I saw : I conquered. 

Perhaps modesty would forbid the speaker — himself being conqueror — ap- 
plying stronger emphasis than the above. If, however, the third person were 
used instead of the first, by another speaker, not the conqueror, the following 
emphasis might be adopted . 

r 3 3sl .r- 3 | 5sl it- 3 8sl IS 
He came : he saw : he conquered. 

The slides of the second, instead of being represented by two numerals, as 
«s2. 2si, may be represented thus : iu, 2d, u indicating the upward slide, and 
d, the downward; or the letters u and d may be omitted altogether, except in 
particular passages ; as there is scarcely a possibility of their being given incor- 
rectly by any one who has learnt his mother tongue. 

The following examples of the other slides are given for illustration : 

ls5 ls5 

He said you were incomparable ? 

3sl 5sl 

I dare accusation; I defy the honorable gentleman 

ls5 ls5 ls5 

Give Brutus a statue with his ancestors ? 

Is8 5sl 

Seems, madam, nay, it is; I know not seems. 

5sl 
And Nathan said unto David, Thou art the man. 

3sl 5sl 

I am amazed, yes, my lords, I am amazed at his 
Grace's speech. 

5sl 
Courageous chief ! the first in flight from pain. 

Is8 ls8 

Hath a dog money ? Is it possible a cur can lend 
three thousand ducats ? 



THE WAVE, OR CIRCUMFLEX. 

The ware, or the circumflex, is of frequent occurrence. There are two kinds- 
the direct and inverted, sometimes called the rising and the falling. They may 
He represented thus : 

Direct Wave of Direct Wave of Direct Wave of Direct Wave f 

Tke Second. The Third. The Fifth. The Octave. 



Is2sl. 


Is3sl. 


Is5sl. 


Is8sl. 


or 


or 


or 


or 


121. 


131. 


151. 


181. 


Inverted Wave of 


Inverted Wave of 


Inverted Wave of 


Inverted Wave of 


The Second. 


The Third. 


The Fitth. 


The Octave. 


2sls2. 


3sls3. 


5sls5. 


8sls8. 


or 


or 


or 


or 


212. 


313. 


515. 


818. 



After the student has become familiar with the slides, and can manage them 
with facility, he will have little or no difficulty with the waves, 

The following examples of direct and inverted equal waves are given, inter- 
spersed with slides. It will be observed that others are used, besides the eight 
represented above. 

3s4s3 
Hail! holy light. 

3s5s3 3sls3 3s5 

I come to bury Caesar, not to praise him. 

3s5s3 
You were paid to right against Alexander, not to 
3sls3 3 3s5 
rail at him. 

3s5s3 3sls3 3 3 3s5 5 

Better pass at once than to be always in danger. 

3sls3 3s5s3 

Cowards die many times: the valiant taste of death 
but once. 

3s5s3 5s3 3s5s3 3sl 

Joy to the world! the Lord is come! 

3s5s3 3s5s3 3s5s3 5s8sl 

Rise, crowned with light ! imperial Salem, rise ! 

The waves just given, excepting the last one, are called by Dr. Rush equal 
■•4ve>. There are also others, called the unequal. Waves are unequal when 
the upward slide is greater or less than the downward, and the downward great- 
• <>v less than the upward. To represent them all,- is unnecessary. But four 
ire given, simply for illustration : 

3s5sl 5s8sl 3sls5 3sls8 






The waves, equal and unequal, are very numerous. Dr. Rush has enumer- 
less than one hundred and eighty, and there is doubtless a still greater 
imber. 



9 

The unequal waves are called direct or inverted, as the second note rises or 
falls, just the same as in the equal waves. 

The following are examples of unequal waves : 

3s5sl 
Tis well, we'll try the temper of your heart. 

3s5sl 3s5s3 3s5s3 3sl 
I will arise, and go to my father. 

3s5sl 
We will tame his savage breast. 

3s5sl ls3sl 

We will conquer him, or die. 

The last example, when given with the utmost emotion, would probably be : 

3s8sl ls3sl 

We will conquer him, or die . 

There are also continued waves, as the following ; 

3s5s3s5 5s8s3s5 

In the examples which follow, waves of various kinds are given : 

3s5s3s5 3s5e3 3sl 3sls3 3sls3 3sl 

The young are slaves to novelty : the old to custom. 

5sl&5s3 
'Tis base, and poor, unworthy of a man, 
To forge a scroll so villainous and base. 
And mark it with a noble lady's name. 

CADENCES. 
Dr. Rush presents what previous writers on elocution have overlooked, the 
subject of cadences, or the closing tones of a sentence. He maintains that gen 
crally they are 3, 2, 1, of the musical scale, subject, however, to certain modifi- 
cations. We give the following examples : 

3 2 1 

Beautiful is the morning light. 

Sometimes the skip is used, as in the following : 

Bozarris ! with the storied brave, 
Greece nurtured in her glory's prime, 

3 1 
Rest thee. 

At other times, the slide is used, as in the following : 

We tell thy doom without a sigh, 

3sl 
For thou art Freedom's now, and Fame's. 



10 

Sometimes the slide is or the last syllable but one, the accent requiring it. 

3sl 

O that those lips had language. 

In all these examples, it will be observed, the cadence of a third is used. 
In asking questions, these motions of the voice are reversed, thus : 

3 4 5 
Did you say that I could go ? 

Or, if the emphasis is placed on I, the upper slide will be used : 

3s5 
Did you say that I could go ? 

Sometimes at the close of a sentence, the wave is employed. Contrast, irony, 
scorn, and contempt, are rendered clear by it. 

3s5s3 3sls3 

The sun sets in the west, not in the east. 

3s5s3 3sls3 

He lives in London, not in New York. 

3sls3 3sls3 

Did he say that he was your friend, and not mine ? 

3s5s3 3sls3 

He is more of a knave, than a fool. 

5s3s5 3s5s3 

The desire of praise produces excellent effects in 
3sls3 
men of sense. 

THE FUNDAMENTAL TONE. 

It is the opinion of elocutionists that every voice has its natural key, or funda- 
mental tone ; and when a speaker commences on this tpne, or makes it the key 
note of his speaking, he will be natural ; but if, by bad habit, embarrassment, or 
n attempt to imitate others, he takes some other tone, he will be unnatural. This 
fundamental tone, or I, will be given by uttering AWE, without any special effort. 
When, however, any one speaks in a sarcastic, pitiful, or any other tone than the 
common, it is probable that he changes the fundamental tone, giving it higher 
or lower than the sound of awe, spoken as above. Thus in the exclamation, 
" You vile wretch!" uttered with intense scorn, the voice is evidently below its 
natural key. And in the sentence, " O Absalom ! my son ! my son ! would to 
God I had died for thee," when spoken with sorrowful emotion, the voice is 
above its natural key. 

STRESS OF VOICE. 

Stress of voice is sometimes made at the beginning of a word, and is called, 
by Dr. Rush, radical stress ; and sometimes at the end, and is called vanishing 
stress; and sometimes in the middle, and is called median stress. Sometime?- 



M 

the radical and the vanishing stress are both given on the same word, and are 

called compound stress ; and sometimes the stress is continued through the whole 

word, and is called thorough stress. The following characters represent them : 

Radical Vanishing Median Compound Tkorough 

stress. stress. stress. str«ss. stress. 

> < o x - 

Instead of vanishing stress, some writers use the phrase, final stress. 
VARIOUS TERMS. 

Different degrees of strength of voice may be indicated by the terms medium, 
loud, very loud, and soft, very soft. Terms may also be used to indicate a change 
in the movement, as common, rapid, very rapid, and slow, very slow. Like- 
wise other terms may be introduced, as impassioned, pathetic, solemn, majestic. 
etc., whose meaning will at once be understood. 

THE ORDINARY VOICE. 

The Ordinary Voice, sometimes called the Pure Tone, is that which is used in 
eommon conversation. It should be clear, smooth, and round; and wholly free 
from guttural, nasal, aspirate, or other impure qualities. Lord Brougham, the 
great orator of the British Parliament, recommended the utmost care in commoi' 
conversation, as tending largely to the right development of oratorical powers 
for public service. 

THE OROTUND VOICE. 

The cultivation of the Orotund Voice is a matter of the utmost importance to 
all public speakers. It is, however, but little understood by the majority of them: 
consequently it is necessary to explain what is meant by it. Dr. Barber, form- 
erly Professor of Elocution in the University of Cambridge, expresses himself so 
clearly on this point, in his Grammar of Elocution, that the writer cannot do 
better than quote his language : 

" Dr. Rush has described a kind of voice which, from its pre-eminent quali- 
ties, he denominates the orotund. In its highest condition, it is deep, full, 
strong, smooth, sonorous, and has a highly resonant or ringing character, like 
the sound of musical instruments." " This voice is highly agreeable to the ear, 
and is more musical than the common voice. It is possessed by actors of emin- 
ence, and is peculiarly adapted to set forth the beauties of epic and tragic com- 
position. It is heard in its greatest perfection on the vowel sounds." 

" The parts of the mouth posterior to the palate, bounded below by the root of 
the tongue, above by the commencement of the palate, behind by the most pos- 
terior part of the throat, and on the sides by the angles of the jaw, are the seat of th« 
deep voice I have described. If the tongue is retracted and depressed, 
and the mouth is opened, in such a manner as to favor the enlargement of the 
cavity described as much as possible, and any of the vowel sounds are then ut- 
tered with force and abruptness, and without calling other parts of the 
mouth into vibration, in their passage through it, the orotund voice will be 
immediately exhibited, in a very high degree, and unmixed in its quality." 



12 

" For practice in the pure orotund, unmixed with the palatial, the directions 
may be condensed thus : Let each of the vowel elements be expelled from the 
most posterior part of the throat with as much opening force and abruptness as 
possible, and the long ones with extended quantity, with the condition of the 
organs first described, and let the effort be so made as to exhaust as much as 
possible the air contained in the chest upon each element. Endeavor to make 
the sounds as grave and hollow as possible. This method of sounding the ele- 
ments will be apt to produce giddiness and hoarseness at first, and must, there- 
fore, be prosecuted with care. By practice these inconveniences will cease, and 
as soon as they do, the elements should be daily sounded, for some time, in the 
manner described." 

"When the elements can be sounded, subject to the directions above given, let 
the attempt be mad* to sound words in this voice As soon as single words can 
be uttered, let the attempt be made to sound sentences, and by degrees this voice 
will be heard upon successive syllables. At first it will be monotonous, but 
practice will enable the student to vary his pitch with the orotund as easily as 
with the natural voice." 

" Now, though we do not recommend attempts to use this voice in speaking or 
reading, until long practice has placed it at entire command, yet we can assure 
the student that the elementary exercises here enjoined will improve his natural 
roice. Their direct tendency is to impart depth, tone, strength, fullness, and 
smoothness. We ought here to insert a restricting clause, and say that this voice 
is not the voice employed in common and familiar subjects. It is more especially 
the appropriate symbol of the dignified parts of epic and tragic poetry, and the 
more solemn portions of the Scriptures. But a person can not have an impressive 
delivery in public speaking without the depth, force, and clearness of tone, which 
the practice necessary to attain the orotund is the most effective method of 
acquiring. Some persons have a natural orotund. Those who have not may 
certainly acquire it, except in some rare instances." 

The Orotund Voice is employed in three different modes : the Effusive, the 
Expulsive, and the Explosive. 

THE EFFUSIVE OROTUND. 

The Effusire Orotund is chiefly used in passages of solemnity and deep feeling : 

Holy, holy, holy Lord God Almighty : heaven and 
earth are full of the glory of thy majesty. 

THE EXPULSIVE OROTUND. 

The Expulsive Orotund is used in the earnest delivery of bold and independent 
truths : 

We hold these truths to be self-evident : that all 
men are created equal ; that they are endowed by 
their Creator with certain unalienable rights ; that 
among these are life, liberty, and the pursuit of hap- 
piness. 






13 

THE EXPLOSIVE OROTUND. 
The Explosive Orotund is used in giving utterance to lofty thoughts and in 
tense emotions : 

Strike ! 'till the last armed foe expires ; 
Strike ! for your altars and your fires : 
Strike ! for the green graves of your sires, 
God, and your native land ! 

THE GUTTURAL VOICE. 

The Guttural is produced by contracting the organs above the larynx ; the 
sound then becomes impure. It is used to express contempt, disgust, and irony. 

Thou slave ! thou wretch ! thou coward ! 
Thou little valiant, great in villainy ! 
Thou ever strong upon the stronger side. 

THE ASPIRATED VOICE. 

The Aspirated is produced by the emission of breath so as to make either a 
whisper, or a sound approaching a whisper. There are different degrees; when 
perfect, it is simply a whisper. It is used to express surprise, terror, distress, etc. 

While thronged the citizens with terror dumb, 
Or whispering with white lips, The foe ! they 
come ! they come ! 

TREMOR OF VOICE. 
Tremor of Voice resembles the trill in vocal music, and may be represented 

thus, TR It is made by a rapid repetition of sounds, with a very 

-■hort intermission between them, so short as scarcely to be perceptible. When 
used aright, it has great effect in oratory. It may be used to express joy, rapture, 
and triumph. 

TR 

glorious hour ! O blest abode ! 

1 shall be near and like my God. 
tr 

Thou glorious mirror, where the Almighty's form 
Glasses itself in tempests. 

TR 

Independence now, and independence forever. 

Ii may also be used to represent sorrow, as in the whole of the following verse : 

Pity the sorrows of a poor old man, 
Whose trembling limbs have borne him to your door ; 
Whose days are dwindled to the shortest span : 
O give relief, and Heaven will bless your store. 

It may also be applied to the Guttural, so as to intensify scorn and contempt. 



14 

ELEMENTARY SOUNDS. 
Various classifications of the elementary sounds have been made by lexicogra- 
phers and elocutionists, most of them differing from each other in several re- 
spects. 

The classification given by Dr. Rush is under three general heads, Vocals, 
Subvocals, and Aspirates, each sound being represented by a capitaJ letter, or 
letters, in the following words : 

Vocals. 

A-ll, A-rt, A-n, A-le, OU-r, I-sle, O-ld, EE-1, OO-ze, 
E-rr, E-nd, I-n. 

Subvocals. 

B-ow, D-are, G-ive, V-ile, Z-one, Y-e, W-o, TH-en, 
a-Z-ure, si-NG, L-ove, M-ay, N-ot, R-oe. 

Aspirates. 

u-P, ou-T, ar-K, i-F, ye-S, H-e, WR-eat, TH-in, 
pu-SH. 

Some of the Subvocals are regarded as having corresponding Aspirates, as 
shown below : 

BDGVZYWThZhNgLMNR 

I I I I I I I I I 
PTKF'S HWhTh Sh 

The first seven Vocals are called Diphthongs, because they hav« both a radical 
and a vanishing sound. A-we, A-rt, and A-n, have the vanish E in E-rr : A-le 
and I-sle have the vanish EE in EE-1 : O-ld and OU-r have the vanish 00 in 
OO-ze. In regard to 01 in v-OI-ce, or OY in b-OY, it is regarded by Rush as 
an uncertain sound, but is thought to consist of the radical A-we and the vanish 
I in I-n when short, and of EE in EE-1 when long , or A we may have its proper 
vanish E in E-rr before it takes the vanish just named, in which case it would 
be a Triphthong. 

The last five Vocals are called Monothongs, because they have no vanish. 

Another distinction is made in the Vocals into long and short, the first nine 
being regarded as long and the last three as short. Still it is maintained that the 
time of the long Vocals is of every distinguishable degree from a momentary 
impulse to the longest passionate utterance of an interjection, as from O-tt to A-we, 
from OU-t to h-0 W, from A-t to A-h, from A-te to h-A y, from p-EA-t to EE-1, 
from f-OO-t to OO-ze, from c-A-rt to p-A-rdon, and from k-I-te to I. The time 
of the short Vocals may also be varied, but not to the same extent as the long. 

From these remarks, it will be seen that Dr. Rush does not adopt the division 
of long and short vowels as generally made; but considers them of different de- 
grees of length. It must, however, be admitted that the division generally made 
is of no small practical utility; and hence, for this reason, it will doubtless be 
retained. 

Fora full discussion of the subject of elementary sounds, the student is referred 
to Dr. Rush's work and the introduction to Webster's Unabridged Dictionary. 



15 

The common method of dividing the Vocals into loiag and short sounds, is 
presented below, in a series of appropriate words. It will be observed that the 
continental sounds of I and E are given. These are certainly more philosophi- 
cal and less perplexing than what are called the English. Is it not as correct to 
say that the sound of I in marine is represented in some words by E, as to say 
that the sound of E in mete is represented in some words by I ? If the method 
of long and short sounds is to be retained, let it, at least, be made as consistent as 
possible. One reform is greatly needed, and that is the adoption of a separate 
symbol lor every elementary sound. It is hoped that Time, the great reforme: 
ef all wrongs, will erelong accomplish this. A series of words is also given, 
containing the Subvocals and Aspirates. It is recommended that these elemen- 
tary sounds be studied and practiced upon till fully mastered. 

In aisle, the diphthong is composed of 
the two vocals found in art and pique : 
in bow, of those in art and rude: in boy, 
of those in all and pique : in adieu, of 
those in pique and rude : in rein, of" 
those in there and pique: and in lucid, 
of those in urge and rude. 

Subvocals. Aspirates. 

Bow u'P 

Vile i'P 

W*oe WH-eat 

Give ar*K 

Ye He 

Dare ou*T 

TH'en THin 

Z*one ye*S 

a'Zure pu*SH 

M*ay 

N*ot 

si-NG 

I/ove 

R'oe 

Compound Subvocals. 

e'Xist equal to GZ 
J'udge equal to D ZH 

Compound Aspirates. 

fla'X equal to KS 
OH'ip equal to T SH 



Long Vocals. 


Short Vocals. 


pTque 


In 


th'E-re 


E*nd 


A-rt 


A-n 


A'll 


wlrA't 


O'ld 


O-dd 


U*rge 


U-p 


r'U-de 


p-U'll 


In the above list, I 


in pique corres- 


)onds with EE in eel, 


E in there with 



A in ale, U in urge with E in err, and 
U in rude with 00 in ooze. 

Some writers make A in air, care, 
&c, an independent sound, but it is evi- 
dently A in ale modified by R. 

Webster makes the sound of A in 
staff, ask, &c, an intermediate sound 
between A in art and A in an. 

He also regards the sound of A in 
what, wander, &c, as similar to that of 
O in odd. 

He likewise considers E in ermine, 
verge, &c, and I in irksome, virgin, 
&c, as a sound verging- towards U in 
urge. 

Long Diphthongs. 

ATsle 



bOW 
bOY 

adrEU 

r-EI-n 

TU-cid 



Short Diphthongs. 

fTght 

out 

qu'OI't 
nrU'te 
El'ght 
1-U-te 



16 

The following additional examples of the elementeiy sounds are given botb 
for illustration and practice : 

I as in 2liq.ue; same as E in eel. 

Marine, machine, police, caprice, field, eve, meet, feet, 
peace, seizure, leisure, people, key, beard, aesophagus, 
quay, Caesar, 

I as in in. 

HI, fin, admit, tribute, cyst, nymph, lyric, abyss, Eng- 
lish, beaufin, been, sieve, women, busy, guinea. 

E as in tkerej same as A in ale. 

Ere, where, heir, their, break, ale, fate, chamber, air,, 
share, pair, bear, fare, prayer, parent, gaol, gauge. 

E as in end. 

End, check, leopard, any, many, aphaeresis, said, 
says, feather, heifer, friend, asafcetida, bury, guess. 

A as in art. 

Par, barb, father, palm, ah, hearth, aunt, guard, are. 

A as in an, 

Add, bad, sad, fat, mat, have, random, plaid, bade. 

A as an intermediate between a in art and a in an. 

Ask, grass, dance, branch, graft, pass, last, gasp, 
chance, chant. 

A as in alt. 

Haul, talk, swarm, awe, sauce, order, form, stork, 
georgic, fork, groat, bought. 

A as in what. 

Wan, wand, wanton, wander, was, wash, wasp, 
watch, wallow, wallet, walrus, warrant. 

O as in old. 

Note, loaf, depose, hautboy, beau, yeoman, sew, roam, 
hoe, door, shoulder, grow, owe. 

O as in odd. 

Not, lot, lock, long, anon, adopt, emboss, torrid, 
resolve, nominal, anomaly, knowledge. 

U as in ur//e. 

Burn, furl, lurk, concur, worm, journey, attorney. 

U as in up. 

Us, but, study, tub, other, dove, son, won, sun, does, 
gun, flood, double, blood. 

E, I, and Y, verging towards U as in urge. 

Ermine, verge, earnest, prefer, verdure, irksome, 
virgin, thirsty, mirth, myrrh, myrtle. 






17 

U as in rude. 

Rumor, rue, rural, moon, food, booty, soop, to, do, 
prove, tomb, rheum, drew, canoe, recruit, manoeuvre. 

U as in j)„l/. 

Push, put, wool, foot, good, woman, should, bosom, 
wolf, pull, took, bullion, butcher, cushion, sugar. 

Ill the following exercises, the first line of each has words with long diph 
i hongs, and the second has words with short diphthongs. 
Compounded of A in rrrl and I in pique. 

I, eye, high, vie, rye, thy, mire, guile, fine, buy, mild. 
Height, kite, right, bright, night, sight, delight. 

Compounded of A in art and U in rude. 

Our, flour, noun, loud, brow, crown, town, flower. 
Shout, doubt, devout, about, scout, trout, rout. 

Compounded of A in all and I in pique. 

Oil, join, toy, annoy, foil, destroy, employ, coin. 
Adroit, moist, oyster, cloister, foist, joist. 

Compounded of I in pique and U in rude. 

Pew, view, cue, beauty, feudal, cure, ague, tribunal. 
Acute, depute, dispute, refute, astute, compute. 

Compounded of E in there and I in pique. 

Vein, reign, pain, aye, day, obey, whey, gray, say. 
Weight, freight, eight. 

Compounded of U in urf/e and U in rude. 

Tune, nuisance, constitution, human. 
Suit, duty, constitute. 

It may be thought that EI in vein and in weight is not a diphthong, but accor- 
ding to Rush it is. Moreover, the Greeks had the eta with the iota subscript, 
which, as Dr. Anthon suggests, was written underneath, probably to show that 
it was sounded but slightly : the epsilon and iota probably had the sound of ei 
in eight. Surely the Greeks, who paid such great attention to the construction 
of their language, would never introduce characters that had no significance. — 
Their whole language is founded on a principle just the reverse. In regard to 
U in tune, constitution, &c, the sound of U is evidently not that of U in rude, 
nor of EU in aditu ; but of U in urge with U in rude. It is believed that a care- 
ful analysis and a correct ear will detect both these sound.-, thus forming a diph- 
thong as given. Webster thinks the first vocal is a brief sound of e or i ; hut the 
one here presented seems more natural. Of course, it will be understood ihat 
the two vocals m all the diphthongs generally vary in lengrh-->;v,netimes the 
radical being long and sometimes the vanish, the oilier, at the same time, being 
short. 



18 

In the following exercises, the dash separates the Subvocals from the correspond- 
ing Aspirates. It will be seen that various characters are used to represent them. 

Babe, bribe, barb, rob, bubble.— Pipe, peep, pope, prop. 
Valve, vague, vivid. — Fife, fief, sylph, philosophy. 
Wave, wild, weep, wound. — When, where, awhile. 
Gig, gag, guage.— Kite, cake, chorus, epoch, succumb. 
Young, yoke, year, yield, yacht. — His, him, her, who. 
Did, deed, died, dread. — Taste, tart, tight, taught, trait. 
Thine, smooth, wither. — Thing, thought, breath. 
Zinc, zeal, has, amuse, prism. — Siss, sluice, cease. 
graZier, fusion, rouge. — Shine, chaise, sash, splash. 

The following Subvocals have no corresponding Aspirate : 

Mum, maim, mimic, moment. — Nine, none, noon, nun. 
riNG, wrong, link, uncle, linger.— Loll, lull, lily, lilac. 

Some elocutionists make the Subvocal R trilled in such words as are given 
after the dash, especially when followed by such words as thunder: 

Rare, rear, roar, error. — Rolling, rattling, rumbling. 

In the following exercises, the dash separates the compound Subvocals from 
ihe compound Aspirates : 

eXalt, examine, exhibit.— eXpect, extort, fix, box. 
Jury, justice, gem, elegy. — CHurch, child, rich, much. 

In practicing on the preceding exercises, care must be taken to give each es- 
sential element its proper sound — clear, distinct, and full. First the ordinary- 
voice may be employed, then the effusive orotund, next the expulsive, and finally 
the explosive. The exercising, however, should not be continued too long at one 
time, especially on the explosive, as dizziness may be produced. 

\s difficult combinations sometimes occur, a few are given for practice : 



Depths 


bulb'd 


shelv'd 


help'st 


troubl'dst 


busts 


hedg'd 


wreath' d 


nipp'st 


truckl'dst 


mulcts 


hang'd 


hold'st 


want'st 


snarl'dst 


attempts 


milk'd 


send'st 


hurt'st 


settl'dst 


spasms 


filch'd 


heard'st 


combat'st drivel 'dst 


breadths flinch'd 


laugh 'st 


respect's! 


muzzl'dst 


healths 


search'd 


think' st 


robb'dst 


arm' dst 


heaths 


fetch'd 


mark'st 


entomb'dst blacken'dst 


fifths 


push'd 


mask'st 


barb'dst 


imprison'dst 


elevenths hurl'd 


fondl'st 


reef 'dst 


clasp 'dst 


nymphs 


nestl'd 


trifl'st 


bragg'dst 


curv'dst 


whisps 


whelm'd 


fall'st 


lash'dst 


swerv'dst 


delft 


burn'd 


rippl'st 


bark'dst 


liv'dst 



19 

In the following exercises, be careful to speak each word distinctly, and by 
itself, not running one into the other.- 

The shepherd on the Wabash shore should shear his 
sheep with care, and shelter them safely in his sheds. 

George Judson expected justice from the judge, 
James Jones, but jealousy made his judgment unjust. 

They took the fifty -five thousandth parcel to Frank- 
fort, and the thirty-third thousandth to Thebes. 

GESTURE. 

In appearing before an audience, a graceful posture should be assumed, and 
the gestures should correspond to the sentiments uttered. 

The feet should be placed three or four inches apart at the heel, the right 
foot being slightly in advance of the left, and diverging so as to form an angle 
of about seventy-five degrees, the weight of the body resting on the left foot. — 
This is called the first position of the right foot. In uttering an appropriate 
passage, the weight may be thrown on the right foot, without changing the po- 
sition of either. This is called the second position of the right foot. A first and 
second position of the left foot can be taken by placing it in advance of the right 
at the same angle. f 

Changes can be made from one position to the other to suit the ease and con- 
venience of the speaker. In impassioned oratory, sometimes the feet have to be 
placed twelve or fifteen inches apart, the same position, of course, still being ob- 
served. In public speaking on a platform, a step forward or backward, or to the 
right or left, may be taken, as circumstances require, still observing the positions 
just described ; but the modern practice of walking alternately from one end of 
the platform to the other, is, to say the least, of very questionable propriety. 

In rising to address an audience, the arms should hang down naturally ; and 
when gestures are made, they should be graceful and appropriate. Freedom of 
motion is of great advantage, and it can easily be acquired by a regular drill. — 
Barber, in his work on Gesture, recommends the following: Place the right 
arm across the chest at an angle of forty-five degrees below the shoulder ; then 
move it forward ; then in an oblique direction to the right ; then extended, still 
on the right; and next backward: after which give it three or four semicircular 
movements. Go through the same motions horizontally, and also elevated at an 
angle of forty-five degrees. Proceed in the same manner with the left arm, and 
afterward with both arms. J 

" >; "In performing these and all other exercises in a class, they should be given 
by each member alone, as well as in concert. 

f In teaching these positions to a class, the instructor can have them take the first 
position of the right foot, then speak aloud second, then first, second, several times, 
seeing that each member has the proper position, and that they move in concert. 

t In going through this drill with a class, the instructor should have his pupils 
arranged two or three feet apart , then speak aloud, across, forward, oblique, ex- 
tended, backward, sweep around, observing that each pupil has the proper move 
bent. 



20 

It is unnecessary to give many directions about the application of gestures, as; 
they will be made by a speaker naturally, when he enters with spirit and fervor 
into his subject. A few, however, may not be out of place : 

I. In arguing a question, a slight forward movement may be made with the 
arm, the first finger pointing at the time. 

Z. In speaking approvingly of any matter, the palm of the hand should be pre- 
sented — disapprovingly the reverse. 

3. In referring to the past, point backward — to the future, point forward. 

4. Both arms should only be used when under strong emotion. 

RULES OF INFLECTION. 
The subject of slides, waves, and cadences, has already been extensively dis- 
cussed, and numerous illustrations introduced. For the right use of them, much 
depends upon taste and cultivation. Elocutionists, however, have laid down 
certain general rules, which, in the main, are correct, and will aid materially in 
acquiring a pleasing, popular address ; yet still, though general, they are subject 
to various modifications. Bronson says, " Although there are given rules for 
making these inflections, or slides of the voice, either up or down, yet it should 
be borne in mind, that every sentence which has been read with the upper slide, 
can. under other circumstances, be read correctly with the downward slide : 
The sense governs everything here as in emphasis." 

Rule I. When the sense of a sentence, or a clause, is complete, the falling 
inflection is generally used. 

3 1 

A wise son maketh a glad father, but a foolish son is 

3 1 

the heaviness of his mother. 

3sl 3sl 

Charity suffer eth long, and is kind. 

EXCEPTION I. Negative sentences, or clauses, generally end with the rising 
inflection. 

3s5 

It is not sufficient that you wish to be useful ; you 

must nurse those wishes into action. 

3s5 3 5 

You need not be alarmed, nor offended. 

EXCEPTION 2. An expression of indifference may take the rising inflection. 

3s5 3 5 

You may go if you wish : I have no objection. 

!i ion 3, When antithesis requires that the introductory clause receive the 
falling inflection. 

3sl 3s5 

It is your place to obey, not to command. 



21 

RULK II. Emphatic words in a sentence generally require the falling inflection : 

Hast thou not spoke like thunder on my side ? 
Been sworn my soldier ? bidding me depend 

3sl 3sl 3sl 

Upon thy stars, thy fortune, and thy strength ? 

3sl 5sl 

I do not so much request, as demand your attention. 

Exception. The language of tender emotion may take the rising inflection. 

3 4 5 3 4 5 

O Jerusalem, Jerusalem, how often would I have 

3 5 
gathered thy children together, even as a hen gather- 

3s5 3s5 

eth her chickens under her wings, and ye would not ! 

Rule III. Questions that cannot be answered by yes or no, generally take the 
ialling inflection. 

3sl 3sl 

Ah ! why will kings forget that they are men ? 

3sl 3 1 

And men that they are brethren ? Why delight 

3sl 3 2 1 

In brutal hate and savage butchery ? 

Exception. Questions repeated take the rising inflection. 

3sl 
Where have you been ? 

3s5 
Where have I been ? At home, to be sure. 

Rule IV. Questions that can be answered by yes, or no, take the rising in 
flection. 

3s5 3s5 

Breathes there a man, with soul so dead, 

3s5 
Who never to himself hath said, 
3s5 3 5 3s5 

This is my own, my native land ? 

Rule V. When the sense is incomplete, the upward inflection is generally used . 

3 5 3s5 5s3 

You may keep out evil thoughts, by entertaining good 
ones. 

3 5 
Be slow to promise, and quick to perform. 

Exception. See Rule I, Exception 3. 



22 

Rule VI. Words repeated as a kind of echo to the thought, require the rising 
inflection. 3 4 5 

And so this man is called an orator. An orator ! 
Why, I would as soon listen to the clatter of a cart 
over a rough pavement as to his ranting talk. 

RULE VII. The name of an object addressed generally takes the rising inflection. 

3 5 3 5 

Our Father, who art in heaven, hallowed be thy 
name. 

Exception. In formal and in emphatic addresses, the name may take the fall 
ing inflection. 

32 1 
Mr. President : with diffidence I rise to address you. 

5 1 
Go to the ant, thou sluggard : consider her ways, 
and be wise. 

Rule VIII. Members of a sentence united by or, used disjunctively, require 
'he rising inflection at the first member, and the falling at the second. 

3 5 

Do you seek wisdom, or power ? 

Exception. When used conjunctively, the same inflection is required in each 
member. 

3s5 3 5 3 5 

Can wealth, or honor, or pleasure, satisfy the im- 
mortal soul ? 

Rule IX. Antithetical words and clauses take opposite inflections; the first 
generally taking the rising inflection, and the second the falling. 

3 5 
Philosophy makes us wiser ; Christianity makes us 
5 3 

better : philosophy elevates and strengthens the 
3s5 5 3 

mind; Christianity softens and sweetens it. 

Rule X. Parenthetical clauses should be read with less strength of voice, and 
about one-third faster, and three notes lower, than the rest of the sentence. 

Know, then, this truth, (enough for man to know,) 
Virtue alone is happiness below. 

Other rules, besides the foregoing, are given by elocutionists — some in refer- 
ence to what are termed the Commencing and the Concluding Series ; but, as 
before observed, taste and a cultivated ear will be the best guide. 

writers introduce what they term the monotone ; but, properly speaking, 
no monotone; as all sentences have mere or less variation of tone in them. 



23 

REGULAR COURSE OF EXERCISES. 

The following exercises are introduced for practice on the principles laid down 
in this work. Most of the selections are from Bronson's Elocution. The nota- 
tion is prepared by the writer; hut it generally represents the tones as given bjr 
that distinguished elocutionist in imparting instruction to a class of which the 
writer was a member. Bronson had reached great perfection in the art : he had 
been teaching elocution about thirty years, and was acknowledged by all to be 
remarkably natural. The writer, moreover, has drawn considerably from Rush. 
Barber, and other distinguished elocutionists, as well as from Bronson ; and 
though the notation is generally his own, yet he has been considerably aided by 
their suggestions, and, in some instances, by their notation, though different from 
the notation hwe given, as far as the characters are concerned. It will not be 
understood that the notation given is the only notation that may be used. As in 
music, so in speech, the melody — that is, the succession of sounds — may be varied. 
The time, as indicated, need not always be observed strictly. Musicians have 
what they term AD LIBITUM, meaning that the time in music may be varied at 
pleasure ; and so it is in elocution. Still, it is thought, the time as given will 
generally be found to agree with correct delivery. 

In practicing these exercises, the student should be in a large room, if prac- 
ticable, and speak them as if five hundred persons were present. He should also 
read them over previously with great care, several times : should comprehend 
their meaning fully: select the emphatic words, and determine the amount of 
stress they require : above all, while delivering them, he should enter most spirit- 
edly into the thoughts and sentiments of the author. 

EXERCISES IN THE ORDINARY VOICE. 

The ordinary voice, besides being used in common conversation, is also used 
in simple statements, narratives, anecdotes, proverbs, etc. In the following ex- 
ercises, the dash is used to indicate the Rhetorical Pause, which is made by a 
suspension of the voice, of more or less duration, according to the degree of em- 
phasis required. 

The business of training youth in Elocution, should 
5s3 3sl 5 3 

begin in childhood ; for then— bad habits have not 

5 3 3s5 
been contracted, and the character— is in a state of 

5 3sl 
formation. 

5 3 3s5 5 3 5 

Demosthenes, the Grecian orator, paid many thou s- 
3 5 3sl 5 3 3s5 

ands— for instruction in elocution ; and Cicero, the 

5 3 . 3s5 5s3 

Roman orator, spent two— whole— years — in reciting 

5 3 
—to a celebrated teacher of the art. 



24 

5 3 3s5 
Diogenes, being one day asked, the biting of what 
beasts is the most dangerous, replied, If you mean 
5s3s5 5 4 3 3s5s3 

wild beasts, it is that of the slanderer : if tame ones, 

3 2 1 
of the flatterer. 

5s3s5 3s5 3 3s5 5sl 

He is a good orator — who convinces himself. 

As exercises, unmarked by characters, may be desired, in order to ttst the 
ability ot the pupils, the following are given. 

Incalculable good might be done to the present and the ris- 
ing generation, by the establishment, in every town and village 
ot our country, of Public Reading Rooms, to be supported by 
voluntary subscription: indeed, it would be wise in town au- 
thorities to sustain such institutions of knowledge by direct 
taxation. Oh ! when shall we wake up to a consideration of 
things above the mere love of money-making. 

Demosthenes had two particular defects : first, weakness of 
the voice; which he strengthened by declaiming on the sea- 
shore, amid the roar of waters : and second, shortness of breath; 
which he remedied by repeating his orations as he walked up 
a hill. 

In a retired cottage in the country, there lived a poor, but 
pious old lady. In the neighborhood, also, were two mischiev- 
ous boys. One evening, they were sent to a village near by, 
to purchase some bread. On returning, when they reached the 
cottage, they heard the old lady praying to the Lord to send 
her some provisions, and to send them immediately, as she had 
had nothing to eat during the day. One of the boys proposed 
getting on the roof, and throwing a loaf down the chimney, 
which was agreed to. As soon as the old lady heard the noise 
occasioned by the falling of the loaf, she rose from her knees, 
took it up, and placed it on the table : then got dow-i on her 
knees again, and commenced thanking the Lord for answering 
her prayer so faithfully, Hearing this, the boy cried out, " Hal- 
lo, old lady, do you think the Lord sent that bread : why, I 
pitched it down the chimney " To which she replied, " O yes! 
the Lord sent it, if the devil brought it." 

Keep your business and conscience well, and they will be 
.-ure to keep you well. 

;les fly alone, but sheep move about in flocks. 



25 

EXERCISES IN THE EFFUSIVE OROTUND. 

The following should be spoken with a slow movement and the fervor of deep 
feeling.* 

3s4s3 r 3 3 3 3 | .3sl .r 3 3 3 | 3s5 R 
Hail ! universal Lord ! be bounteous still 
3 3s5 5 R | .5s3 3 .3sl r || 
To give us only good. 

.3 | 3s4s3 3 3 3 ,r| 3 2 .1 .r- 

1*11 praise my Maker while I've breath : 

3 r | 3 3 .3r333| 3s5 .r 
And, when my voice is lost in death, 
3s4s3 r | 3 3 3s5 r 3 3 2 | .1 .R- 
Praise shall employ my nobler powers : 
3 3 3 | .3 r 3 3 3 3s5 | 
My days of praise shall ne'er be past, 
r 3 5s3 r 3 5s3 | r 3 5 3 3s5 r , 
Wnile life, and thought, and being last, 
3 | 4 3 3 4 5 .r 3 | 3sl :r || 
Or immortality endures. 

3 3 | 3s.4s3 3,s4s3, r 3 | 3 3 .r 3s5 .r | 
Were the whole realm of nature mine, 
5s3 r 3, 3, 3 3 .r | 3s4s3 3 3s4s3 r | 
That were a present far too small : 
5s3 .r 3 3 5s3, 3, | .r 3 3 5s3 r 
Love so amazing, so divine, 

3 | 5s3 r 3 3s5 r 3 | 3s5 r 3 3sl || 
Demands my soul, my life, my all. 

5s3 | 3s5 5 .r- 3 3 | 5s3 .r- 3 3 3 | .3- 

Prayer ardent opens heaven : lets down a stream 

3 5s3 5r|33 3333 3 
Of glory on the consecrated hours 

3 | 3s5 r 3 3s5 5 r | 3 3 5s3 2 1 || 
Of man, in audience with the Deity. 

3s2 2sl .1 r | 3 3 3sl r 3 3 3 | .3 r 3 3 
I warn you, do not dare to lay your hand on the 
3 3 3,sl, 1 || 
constitution. 



* It will be observed that the comma, denoting the quaver, or eighth note, is 
placed after the numeral, and not beneath it, being more convenient to do so. 
Of course, either position would be cerrect. 



36 

Roll on, thou dark, and deep, blue Ocean, roll ! 
:r :3 3sl r 3 | .3 .3 .3 .3 | .3 3 r .5s.l | 
.r .3 .3 .3 | .3 R :3 | 3 3 .3 R 2 .1 | 

Ten thousand fleets sweep over thee, in vain. 



1 | 3sl 2 3 

Eternity 



r 1 
is 



1 | ls3 .3 .r 1 1 | 321 
the life -time of the Deity. 



.R 



WHERE CAN REST BE FOUND? j 

Tell me, ye winged winds, 

That round my pathway roar, 
Do you not know some spot 

Where mortals weep no more? 
Some lone and pleasant dell, 

Some valley in the west, 
Where, free from toil and pain, 

The weary soul may rest ? 
The loud wind softened to a whisper low, 
And sighed for pity, as it answered, No. 

TelUme, thou mighty deep, 

Whose billows round me play, 
Know ; st thou some favored spot, 

Some island far away, 
Where weary man may find 

The bliss for which he sighs, 
Where sorrow never lives, 
And friendship never dies ? 
The loud waves rolling in perpetual flow, 
Stopped for awhile, and sighed to an- I 
swer, No. 

And thou, serenest moon, 

That, with such holy face, 
Dost look upon the earth, 

Asleep in night's embrace, 
Tell me, in all thy round, 

Hast thou not seen some spot, 
Where miserable man 
May find a happier lot ? 
Behind a cloud, the moon withdrew in I 

woe, 
And a voice sweet, but sad, responded, 
No. 

Tell me, my secret soul, 

O ! tell me, Hope and Faith, 
Is there no resting-place 

From sorrow, sin, and death ? 
Is there no hapuy spot, 

Where mortals may be blest ? 
Where grief may find a balm, 
And weariness a rest ? 
Faith, Hope, and Love, best boons to 

mortals given, 
Waved their bright wings, and whis- 
pered, Ye* ! in heaven ! 

Mackay. 



THE LAND IMMORTAL. 

There's a glorious land on high, 
Far beyond the star-lit sky : 
All things there are fair and bright : 
Land of beauty ! land of light ! 

Living splendor beameth there : 
Holy fragrance fills the air: 
O'er that clime there comes no blight; 
Land of beauty ! land of light ! 

There no angry tempest blows : 
No red bolt the thunder throws : 
No dread gloom is spread by night . 
Land of beauty ! land of light ! 

There the holy mountains are;- 
And sweet valleys, stretched afar : 
There are rivers, pure and bright : 
Land of beauty ! land of light ! 

Radiant verdure decks the ground : 
Blooming flowers rejoice around: 
Ail is glorious to the sight: 
Land of beauty ! land of light! 

T. Harrison. 

HYMN OF PRAISE. 
God of all created wonder ; 

God of countless orbs of light ; 
God of rain, and wind, and thunder; 

God ol morning, noon, and night; 
Thy great system faileth never ; 

All thy works in truth remain : 
Blessed be thy name forever : 

Blessed be thy glorious reign. 

God of valley, plain, and mountain ; 

God of flowery-land and wood ; 
God of river, stream, and fountain; 

God of all created good ; 
Thy great system faileth never ; 

All thy works in truth remain: 
Blessed be thy name forever : 

Blessed be thy glorious reign. 

T. Harrison. 

To Thee ! whose temple is all space ; 

Whose altar, earth, seas, skies; 
One chorus let all beings raise ; 

All nature's incense rise. 



ir 



37 

EXERCISES IN THE EXPULSIVE OROTUND. 

'.r- 5 3 | 3s5 b 3 5s3 e 3, 3, | 5s3 b 3, 3, 3 

Little minds are tamed and subdued by misfor- 
1 r 3 | 5 3 b 5, 5, 8s5 3sl || 
tunes ; but great ones rise above them. 

5 3 R 3, 3, 5 4 3~ r" | .1 r 1 3 2 1 
Virtue leads to happiness : vice to misery. 

.k 5s3 3 4 5 b | 3 3 3s5 b 3 3 3 | 8 5 r 3, 3, 
True liberty can exist only where justice is im- 
3s5 5, 5, 3 | 5 4 3sl :b || 
partially administered. 

:r3 3 5 3 | 3s5 R 3 5 3 R 3 | .5s.3 3 
Let our object be, our country, our whole coun- 
1 b 3 | 5, 5, 8 R 5 3 1 .b 1 

try, and nothing but our country. 

b 3 5s3 .b 5 | 8s5 .b- 5 5 5, 5, | 6 7 8 .b 5 5 5 | 

A day, an hour, of virtuous liberty, is worth a 
:5s.8 .81111 :b 1 | ls3 3s5 :b || 
wnole eternity in bondage. 

5s8 8 8 .b 5 5 | 5s8 8 8 b 5 8 5, 3, | 3sl .b 3 3 

Tyranny is detestable in every shape ; but in 
3 3 | 3s5 5 5, 5, k 3 3 3 | 3s5 r 3 3 4 5 r | 
none so formidable, as when assumed and exercised 
3 3 8s5 5s3 b 3 | 3sl.l R :b || 
by a number of tyrants. 

5s8 b 5 8 5, 3, R 3 | 3 3 .3 3s5, 5, r, 

Frown indignantly upon the first dawning 
3, 3, 3, | 3s5, 3, 3, 4, 5, r, 5, 3, 3s5, 5, 3, 3, | 3s5 5 R 
of an attempt to alienate any portion of this Union 

3, 2, 1 r 1 | .ls8 8 R 3 5,s3, 3, 3, | 3sl :r- | 
from the rest : the Union ! it must be preserved ! 

3 3 3 R 3 | 5s3~.r- 5 5 6 | 7s5 R 
I tell you, though you, though all the world, 
5 5 5 6 7| 8s3 .r- 33 3 | 3s5 5, 5, b 
though an angel from heaven, declare the truth of it, 

3 3 3 3 | 5s3 1 || 
I could not believe it. 

.r- 3 3s5 r 3 | 5,s3, 4, 5, R 3 .r 3 | 3s5 5 R 5s3 2 1 | 
The price of liberty is eternal vigilance. 



28 

THE VIRTUOUS AND THE VICIOUS MAN CONTRASTED. 

The charms and advantages of morality, and the evils and 
monstrosities of vice, have never yet been portrayed by the 
powers of human language. It is glorious — ineffably glorious 
to see a man of sound principles and virtuous habits. He is 
an honor to himself, and a benefit to community. He has the 
smile of an approving conscience, the esteem of the good, and 
even the admiration of the bad, besides the favor and protec- 
tion of almighty Heaven. But how different with the vile and 
immoral. By day, the stings of a guilty conscience torment him ; 
and, by night, memory, with her thousand hissing tongues, re- 
minds him of his deeds of crime and shame. The powers of 
his body and the powers of his mind are alike imbruted by sin. 
The good refuse to associate with him, and the bad cannot con- 
fide in him. The bright universe, with its wise arrangements 
and superb decorations, has no charm for his depraved and be- 
nighted intellect. To him, the sun has no splendor, the moon 
no brightness, and the stars no glory: to him, the dew-drop has 
no sparklings and the rainbow no radiance : to him, the rose 
has no beauty, the sun-flower no grace, and the violet no fra- 
grance: to him, the mountain has no majesty, the prairie no 
resplendence, and the valley no Eden variety : to him, the leap- 
ing rill, the gliding river, and the breeze-rippled lake, have no 
music; and the loud-sounding sea, and the eternally-rolling 
ocean, no language: to him, in short, all nature is desolate and 
dreary as the flowerless and streamless desert of Sahara: while 
the pleasures of home, the endearments of society, and the 
charms of fatherland, are as remote from his soul, as the very 
antipodes of the globe. Far better for him would it have been, 
had he been born a lion to roam the wilds of Africa, or a con- 
dor to soar to the proud heights of the Andes, than to have 
had a soul given him capable of deriving infinite, and holy, and 
ennobling enjoyments, from the love and practice of virtue and 
truth, and then sink down, like the miserable mud turtle, into 
the dark and hideous quagmires of damning immorality and 
vice! O, man of virtue! thus it is not with thee! Blessed — 
all-blessed is thy name, and ever dear and ever precious will 
be the memory of thy goodness ! The proudest monuments 
of human power and greatness — temples, towers, palaces, and 
pyramids, may be utterly overthrown; and the pride and mag- 
nificence of the mightiest empires — Babylon, Carthage, Rome, 
Russia, and Britain, may be entirely lost amid the wreck of 
ages ; but the immortal deeds of thy great and god-like soul 
shall live through all time and through eternal ages ! 

'! . J fARRISON. 



3,sl,s3, 3, .k 4,s2,s4, 4, .r | 5,s3,s5, 5, 3s5 .* 3 3, 
Happy, happy, happy pair ! none but 

3, | .3sl r 5sl k 3 2 | 1 .r 3 8 6 5s3 | 
the brave, none but the brave, none but the brave, 

r 3 3 3 3sls3 r || 
deserve the fair 1 

3 4 5 3s5 

Where'er thou journey est, or whate'er thy care, 

5s3 3s5 3 5 3sl 

My heart shall follow, and my spirit— share. 

5 3 5s3 5s3 

Passions— are winds— to urge us o'er the wave : 
3s5s3 3s5 5 3 3s5 3sl 

Reason — the rudder — to direct, or save. 

5s3 5sl 

Real independence — is living within our means. 

3s5 3sl 

He hath a heart— as sound as a bell, 

3s5 5s3 

And his tongue— is the clapper ; 

5s3 3s5 3s5 3sl 

For what his heart— thinks, his tongue— speaks. 

3s5 5 
If there's a Power above us, 

(And that there is, all nature cries aloud — 

ls3 3s5 5s3 

Through all her works,) he — must delight in virtue ; 

5s3 3 4 5 5s3 3sls3 1 

And that which he delights in, must — be happy. 

5s3 4 5 5 3~ .1 3sl 

The universe — is an empire, and God — its sovereign. 

5s3:3^3s5 3s5 

Drunkenness— destroys more of the human race, and 

3 4 5 5 3 3s5 

alienates more property, than all the other crimes — 

3sl 
on earth. 



C5U 

EXER( ISES IN THE EFFUSIVE AND EXPULSIVE OROTUND. 

5 k- 5, 5, 5, 5 .b 5 I 6s3 r 3 5 5 r 5 | 
What a piece of work is man ! how noble in 
6,s5, 3 r 3 5 5, 5, r 5 | 6 5, 3, r 3 3s5 r 3 | 
reason ! how infinite in faculties ! in form and 
5 5 r 3, 3, 5 .r 5 | 6 5, 4, 3, r- 3 5, 5, .r | 
moving, how express and admirable ! in action, 
.3 .r .3 .3 | .3sl 1 r 3 5 3 | 3sls5 5 :r | .3 .r .3 .2 | :1 :r|| 
how like an angel! in apprehension, how like a God. 

3 | 3s5 k 3 5 3 .r | .1 .1 .1 R 1 J .ls.2s.l R j| 
To err is human: to forgive, divine. 

5 | 5 5 55 55. r | 5s8 r 5 5s8 .b | 

Will all great Neptune's ocean wash this blood 

5s8 r 5, 5, 5s8 .r | 8s5 .r 3s5 r 3 | 3s5 r, 3, 

clean from my hands ? No ! these, my hands, will 

3 3, 3, 3, 3, 3 3, 3, | 3s5 R 3 5,s3, 2 1 r | 3,sl, 1 r 

rather the multitudinous sea incarnadine, making 

1 .ls3 R | :1 .1 .r || 
the green, one red. 

3 | 3 r 3 3 3 3 k 3 | .3 3- 3, 3 r 3 
I stand in the presence of Almighty God and 

3, 3, | 3sl .r- 3 3 3| 3,s5, 3 3s5 .r 3, 3, 3, 
of the world: and I declare to you, that if you 

3, | 5,s3, 3,s5, 5 r 5 3 .r | .3s5 r 8 5 r 3, 3, | 
lose this charter, never, no, never, will you 

3 r, 3, 5,s3, 3, si, .k3 3 | 3sl, 3, 3s5 r 3 3 3, 
get another. We are now, perhaps, arrived at 
3, | 5,s3, 2 .1 :r | 3sl r 3,3, 5s3 r 3 | 3 r 3 3 
the parting point. Here, even here, we stand on the 
3 .r 2 | 1 .r- 3sl r 3 | 5,s3, 3sl r .1 r || 
brink of fate. Pause, for Heaven's sake, pause. 

3 j 5s3 r 3 3s5r3| 3 3 5,s3, 1 :r | 8s5 r 
What man could do, is done already. Heaven 
6 5s3 R 3 | 3 3 :r 3 r | .3 .r .3 .r | .3 r 
and eartn will witness, if Rome must fall, 

3 .3 r 3 | 3 2 1 :r || 
that we are innocent. 

3 | 5 4, 3, 3s5 :r | .5s.3 .r .3 | .3 2 1 .r- || 
Where liberty dwells, there is my country , 



31 

Education is a companion, which no misfortune can sup- 
press ; no clime, destroy ; no enemy, alienate; no despotism, 
enslave. At home, a friend ; abroad, an introduction ; jn soli- 
tude, a solace ; in society, an ornament. It lessens vice ; it 
guards virtue : it gives, at once, a grace and government to 
genius. Without it, what is man ? A splendid slave ! a reas- 
oning savage ! vacillating, between the dignity of an intelligence 
derived from God, and the degradation of brutal passion. 

OUR COUNTRY ! THE WORLD'S MODEL NATION. 

When the freemen of Europe could battle no longer, 

On their own native soil, in defence of the right, 
They resolved, with a faith that grew stronger and stronger, 
That their cause should yet triumph o'er tyranny's might. 
They sought a new home, in those bright sunny regions, 

Where nature's prime iorests in grandeur still stood : 
Though their numbers were small, they soon swelled to vast legions, 
And they prospered in all that was noble and good. 

Our country ! our country ! the world's model nation, 

Where homes are all happy, and hearts are all free, 
And where beams the bright star of the earth's renovation, 
We will be ever true — ever loyal — to thee. 

When the country was threatened with ruin all gory, 

A patriot, unequaled in valor and skill, 
Led his armies of freemen, to conquest and glory, 

And bade the vain wrath of the tyrant be still : 
While statesmen, all pure, were in council attendance, 

With their eloquent pleadings for liberty's cause ; 
And they firmly established our land's independence, 

Its free constitution, and life-giving laws. 
Our country ! &c. 

W T e have mountains and valleys, all smiling with beauty; 

A domain on a vast and magnificent plan ; 
And a people that glory in doing their duty 

To their homes and their country, to God and to man. 
We have workshops all busy, and farms ever teeming ; 

And a commerce unbounded on land and on sea; 
We have schools where bright science profusely is beaming, 

And churches where worship is holy and free. 
Our country ! &c. 
Though many the states that compose this vast Union, 

And though varied in products, and climate, and soil, 
We will live through all time in the sweetest communion, 

And the schemes of false patriots we promptly will foil. 
Our banner shall shine with new stars of bright glory; 

Our mighty republic immortal shall be ; 
All tribes shall be charmed with our country's sweet story ; 

And man shall become universally free. 

Our country! &c. T. Harrison. 

Truth, crushed to earth, shall rise again : 

The eternal years of God are hers : 
While Error, wounded, writhes in pain. 

Aad dies amid her worshipers. 



m 

5s3 3s5 5s3 3s 5 

My— crown— is in my heart, not on my head ; 
5s3 3 5s3 

Nor decked with diamonds — and Indian stones : 
5s3 3s5s3 3sls3 8s3 

Nor to be seen: my crown — is called— Content: 

.8sl 1 ls3 3s5s3 2 1 

A crown— it is — that seldom kings enjoy. 

3s5 5s3 3 3 2 1 

But mercy — is above — the sceptred sway : 

3s5 5sl 

It is enthroned — in the hearts — of kings : 
3 4 5 6 7 8 1 .1 11 
It is an attribute— of God — himself. 

3s5 3s5 

And now — my race — of terror — run, 
5s3 3s5 3sl 

Mine — be the eve— of tropic sun. 

3sl 
No pale gradations — quench his ray : 

3sl 
No twilight dews — his wrath — allay. 

3s5 3s5 

With disk, (like battle target,) red, 

3s5 5 3sl 

He rushes — to his burning bed : 

.3 .3 .3 3 

Dyes the wide wave— with bloody light, 

5s3 3 1 :1 1 1 

Then sinks — at once, and all — is night, 

3s5 5 3 3sl 

He— raised a mortal— to the skies : 
3s5s3s5 5 3 3sl 

She — drew an angel— down. 

3s5s3s5 5s3 4 5 3s5s3 

If I — were an American, as I am an Englishman, 

5 3 5s3 3s5 5 

while a foreign — troop — remained in my country, 

3 5 3sl 3s5 5 3 

I never— would lay down— my arms: no,— never,— 

4 2 3 1 
never, — never. 



EXERCISES IN THE EFFUSIVE, EXPULSIVE, AN*) EXPLOSIVE 

OROTUND. 

3 | 5,s3, 3 r 3 3s5 r 3 | 5,s3, 3,sl, k 3, 3, 
M y judgment approves this measure, and my 
.3s.5 | 5s3 r 3 2 1 .r I .3 3 3 3sl .r | .4 4 4 4s2 b 
whole heart is in it. All that I have, all that I am, 

2 | .5 5 5 5s3 r 3 | 5,s3, 3,s5, u 3, 3, 5,s3, 3, 3, 
and all that I hope in this life, I am now ready 
3,s5,r,3, | 5,s3,k,3, 2, 1, .r 3 3 3 | 3s5r,3,3,3, 5s3r 
here to stake upon it. And I leave off, as I began, 

3 | 3sl r 3 3s5s3 r | 3s5 r 3 5s3 r 3 | 3s5 r 3 
that sink or swim, live or die, survive or 
5,s3, 3,sl, .r | 3,s5,s3,s5, r 3 3 3 5 3 | 5s3 1 b- 

perish, I am for the declaration. 

SOFT VERY SOFT 

3 3 3 | 5, 3, r 3, 2, 1 r 1 r | .1 .1 1 1 r 1 j .1 .* 
It is my living sentiment, and, by the blessing of God, 

LOUD. TR 

1 1 1 r | .1 3s2 1 r 1, 2, 1 | ;r I :5- .5 | .5 .5 :r | 

it shall be my dying sentiment. Independence 
_g.._.....g...^^ ^ 

now, and independence forever. 

.5 r 5 .5 r 5 | 5s3 .r .5 r 5 | .5 r 5 .5 r 5 J 6,5, 3 b 
I appeal to you, O ye hills and groves of Alba, 

5 5 r, 5, 6 7 | 8 5 .r 5 5 5 5 | 8 5 .b- 
and your demolished altars ! I call you to witness ! 
3 3 3 | 3,s5, 5 r 3, 4, 5 6, 7, r 5 | 8s5 r 
whether your altars, your divinities, your powers, 
3 3 3 r 3, 3, | 3 3 r 3 .3 3- 3, j 

which Clodius had polluted with all kinds of 

3 4 5 .r 3 3 3 | 5s3 3 3 .b 3 3 j 
wickedness, did not avenge themselves, when this 

5s3 r 3 5 3 2 1 | .r .1 .1 ,r | .1 1 1 12 3k, 
wretch was extirpated. And thou, O holy Jupiter ! 

1, 2, 3 r 3, 3, 3, 4, 5 r 3 | 5s3 b 
from the height of this sacred mount, whose lakes 
3 3s5 r 3 | 3 3 3, 5, r, 3, 5,s3, 3 2 1 
and groves, he had so often contaminated. 

5,s6, 7, 8, .b 5,s8, 8 .r | 5, 4, 3, 2, 1 r 
Liberty ! Freedom ! Tyranny is dead ! 

5 5,s3, r- 5, | 5, 5, R , 5, 5, 5, 5sl r 

Run hence ! Proclaim it about the streets! 



3,s5, r3 33334|5 .r 
Lo ! from the regions of the north, 
3 3 3 3 3 | 5, 3, r 3sl :r | 

The reddening storm of battle pours; 
.3sl 112 3 3 | 3sl .r 

Rolls along the trembling earth ; 
3, 3, r 3 3, 3, | 5,s3, 3 3sl :r | 

Fastens on the Olyrithian towers. 

5 r 5 5 6s5 .r | 6 ii 6 6 7s5 .r 

Where rests the sword ? where sleep the brave ? 

5, 8,s5, R- 5, 5, 5, 6, 7, 8, r, • 

Awake ? Cecropia's ally save 
5, 5, | 5, 6, 6, 6, 6s3 :r | 

From the fury of the blast. 
8 .b 8 8 .r 8 | 10 8 6s5 :r | 

Burst the storm on Phoci's walls ! 

10s8 b 5 8sl0 r 8 | 10, 10, r 8s3 :r | 

Rise ! or Greece forever falls. 

.10- r, 5, 8,sl0, 10 .r | 8s6 r 6 5s3 r 

Up ! or Freedom breathes her last. 
3 | 3 3 3 r, 3, 3 3 3,s5, r | 

The jarring states, obsequious now, 
3 3 3,s5, 5 5 4 3 r | 

View the patriot' s hand on high : 

1 1 .r 1 1 1 1 | 3sl .r 
Thunder gathering on his brow; 

5, 3, r 3, 3, 3, 3, | 5s3 .B 
Lightning fiasning from his eye : 
3 3, 3, 3 3 | 3 3 3s5 r 
Borne by the tide of words along, 

3 3s5 | r 3 3s5 r 3 3 2 | 1 .r 
One voice, one mind, inspire the throng : 
5 3s5 .r | r 7 9s7 .R- 8 | 10s8 r 6 5s3 .r | 
To arms ! to arms ! to arms ! they cry : 

8 r, 8, 8 r, 5, 3 r, 8, 8 r | 
Grasp the shield, and draw the sword ! 

8, 6, r, 6, 8, 10, 8 6s5 .b | 
Lead us to Philippi's lord ; 
5 5 10,s8, 6 5 .b- | ,3s.2 .2s.l || 
Let us conquer him, or die. 

3 | 5s3 R 5 8s5 r 3 | 3 3 3, 3, r 2 1 R || 

Awake ! arise ! or be forever fallen. 




3, 3, 3, 3, 5, k | 3 3 3 a, 3, 3s5 m | 
To whom the goblin, full of wrath, replied, 

.1 .1 r 1 11| ls2 3 R .1 J I .1 K 
Art thou that traitor angel ? art thou he 

1 1 2 3 4 | 5 .k 3 3s5 k 3 | 5k 

Who first broke peace in heaven, and faith, till then 
3s5 6s7 8 r | 8, r, 7, 6, 6, 6, 5, r, 
Unbroken ? Back to thy punishment, 
8,s5, R 8, 6, 5, R , | 5, R , 6, 7, 8, r, 8 10,s8, * 
False fugitive ! and to thy speed add wings, 

6, r, 6, 7, | 8, 9, 10,s8, 5, a, 6, 6, 6, 
Lest, with a whip of scorpions, I pursue 

6, 5, 3, r 3, r, | 3, 4, 5 6, 7, 8 r, 
Thy lingering ; or, with one stroke of this dart 

5, 8, 6, 5, 3, r, 5, | 6,s5, r, 5, 5,s3, r, 2, 1, || 

Strange horror seize thee, and pangs unfelt before. 

3 | 3s5 r 3 3 3 3 3 | 3s5 .r 
The war, that for a space did fail, 
3sS.iv | 3 3 3sS 5 r 3 2 | 1 .k- 
Now, trebly thundering, swelled the gale ; 

3 r 8, 5, r | 3 2 1 .r 
And Stanley was the cry. 
3 3s5 | k 3 3 3 3 3 3s5 | i 

A light on Marmion's visage spread, 

3 3,s4,s3, R~ 3 3 2 | 1 .k 
And fired his glazing eye. 

1 .1 .1 | .1 R 1 2 3 3s5 | r 
With dying hand above his head, 
3 3 3 3 3 3 4|5 
He shook the fragment of his blade, 

3 5 5 .r | 8, 5, 3 .r 
And shouted, Victory ! 

10s8 .k | 8 10 .r 10s8 .r | .10s.8.r8 10 | .r :10s.8 j 
Charge! Chester ! Charge! On! Stanley! On! 
.r 3 3 3 3 R 3 | 3 2 1 : R |i 
Were the last words of Marmion. 

Rise ! fathers ! rise ! 'tis Rome demands your help. 

O save my country, Heaven! he said and died. 

Rouse! ye Romans! Rouse! ye slaves! 



36 

THE IMPORTANCE OF THE UNION, 

A strong and convincing argument in favor of the preserva- 
tion of the Union, may be drawn from the harmonious blend- 
ing of its geographical features, the vast unit of wealth in its 
varied physical resources, and the oneness of its commercial 
and other important interests. 

We have two magnificent chains of mountains, the Rocky 
and the Allegheny, and between them lays the richest and 
most glorious valley on the globe, with its virgin breast, revel- 
ing in heaven's solar blaze; and then, through that valley, we 
have, rolling in unequaled grandeur, the mightiest of all rivers, 
appropriately called by the aborigines, the Father of Waters. 
Who shall claim the giant Rocky Mountains, and who the 
noble Alleghenies ? And which branches of the Mississippi 
shall be assigned to one community, and which to another? 
Shall the sisterhood of the beautiful Ohio and the sportive 
Missouri, the charming Tennessee and the laughing Arkansas, 
be severed and destroyed? Shall hostile peoples dwell on 
their shores, and quarrel and fight till those pure and pellucid 
waters are colored full red with the blood of the sons of Wash- 
ington, Jefferson, Hancock, and Franklin ? Methinks I hear 
the Father of Waters, indignant at so horrid and atrocious a 
thought, send up a shout, loud as the very thunders of heaven, 
Never, no, never ; while the Rocky peaks and the Allegheny 
heights, echo and re-echo the same grand veto, till the whole 
vast valley of the magnificent Mississippi is filled with the tre- 
mendous reverberations, Never, no, never. 

Again: we have Pennsylvania, Ohio, Indiana, Illinois, and 
Michigan, with their inexhaustible coal mines ; likewise Mis- 
souri, with her Iron Mountain, and other vast mineral wealth ; 
Wisconsin, with her lead and copper; Nevada, with her silver; 
and California, with her gold. Shall one part of our citizens 
seize on one class of mines, and another part on the others, 
making that a monopoly for a few, which ought to be for the 
general good of the commonwealth ? Shall one community 
raise corn on the prairies of Illinois and Iowa, and another 
wheat on the rolling lands of Ohio and New York, and anoth- 
er cotton and sugar in Alabama and Mississippi? Or shall 
these different products be the common products of our com- 
mon country? Shall the steamboats, plying on the waters of 
Superior, be forbidden to ply on the waters of Michigan and 
Erie, without the permission of an independent nationality ? 
or shall they, like the noble waters they traverse, be free in all 
their grand movements ? Shall the locomotives, wishing to 



37 

travel the length and breadth of the continent, have to petition 
a dozen petty States for the right to do so, and pay to each 
State an exorbitant revenue for the exercise of that right ? or 
shall they, as now, be at home in a harmonious brotherhood of 
States ? Shall the commerce of the East be severed from that 
of the West, and that of the North from that ot the South? 
or shall we have one united commerce for one united people ? 
Shall this vast Union be shattered into twenty or thirty frag- 
ments, losing its splendor, its glory, and its strength? and shall 
it become the reproach, the hissing, and the by-word of the 
nations of the Old World? Methinks I hear the reverbera- 
tions swelling louder and louder still, thundering from the 
grand lakes on the north to the grander gulf of Mexico on the 
south, and from the mighty waters of the Atlantic on the east 
to the still mightier waters of the Pacific on the west, Never, 
no, never, never, never. 

While the physical resources of our land thus protest against 
a dissolution of the Union, the moral and intellectual forces of 
the people shall all be put forth to preserve it sacred and indis- 
soluble forever. We will listen to the farewell advice of the dy- 
ing Washington, and remain one united people. Politicians of 
all schools, and christians of all creeds, shall have one sentiment 
in common — the Union forever ! Then will the glorious God- 
dess of Liberty make this her permanent home, and scatter her 
thousand blessings over every State, every county, every house- 
hold. We glory in the inspired sentiment of the brave Jackson, 
and pray that it may be written in letters of living fire on the 
heart of every citizen, whether native or foreign- born, in all 
future time, " The Union ! it must and shall be preserved! '' 

T. Harb • 

In the following exercise, directions are given for gesture: 
Raise the right hand slowly, and point and look upward : let the 

The Great Being, who reigneth in heaven; whose 

hand descend slowly, and present the palm : make an inward curve with both hands, and 

footstool is the solid globe; who at a glance taketh in 

extend horizontally : another curve, and extend slightly elevated ; another curve, 

all things; whose essence filleth all space, the immen- 

and extend still more elevated : hands descend ; slight motion up and down 

sity of the universe ; regardeth us, the creatures of his 

with both hands : extend right hand outward with palm downward : 

creation, his bounty ; not as objects to be cast away. 

both hands outward, and face to the left : place the hand gently 

or repelled from his presence ; but as beings to whom 

over the heart : extend right hand forward with palm presented: 

his heart is ever open, his hand ever extended. He 

let the hand fall, and then extend both hands forward; then let them fall slowly 

will take us to his arms, as a mother taketh her child , 



.18 

3 ! 5s3 r 2 1 .h 3 | 3s5 r 3 5s3 .r 
An hour passed on : the Turk awoke ! 

.5 .6 .6 .r | .3 .2 .1 .k | r 

That bright dream was his last : 

3 3s5 k 3 3 3 | 3 4 5 :r 

He woke to hear his sentry's shriek, 

LOUD 

5 | .8s.5 .r- 5 | 9s7 r 8 10s8 r 8 | 10s8 .r- 
To arms! they come ! the Greek; the Greek ! 

MEDIUM 

3 3 3 | .3 k 3 3s5 r 3 | 5s3 r 
He woke to die midst flame and smoke, 

3 3s5 r 3 | 3sl k 3 5 4 3 r | r 
And shout, and groan, and sabre stroke, 

3 5 3 3 3 3 3 | 3s5 r ' 

And death-shots, falling thick and fast, 

355 3 4 | 5 4 3 :r 

As lightnings from the mountain cloud ; 

3 | 3s5 r 3 3 3 3 4 | 5 .r 
And heard, with voice as trumpet loud, 

3 3 3 3 3 | 3s5 .r 
Bozzaris cheer his band, 

LOUD 

8,s5, r 5 5 | .6 .7 .8 i; 6 | 5 .«- 
Strike ! till the last armed foe expires ! 

9,s7, r 5 6 | 7 7 .r 7 8 9s7 | :b 
Strike ! for your altars and your fires ! 

10,s8, r 5 5 | .6 .6 k 5 4 ! 3 .r- 

Strike ! for the green graves of your sires ! 
.6s3 R 1 5 6 7 6 5sl r | 
God, and your native land ! 

3 3 3| 5,s3, 1 .r .5s.3 | r 3 5sl k 
The combat deepens : On ! ye brave ! 

3 3s5 | r 3 3s5 5 .r- | .3 .2 .1" .h | 
Who rush to glory , or the grave: 
.8s.5 k 5 8 r | .8 .9 10 8 ,n ! .8s.5 .R- 
Wave ! Munich ! all thy banners ! wave ! 

5 I, 8s5 r 3 .5- 4 i 3 2 1 .r || 
And charge, with all thy chivalry ! 



8 .k .8- 8 I 8s6 5 k 5 5 5 R I 5s8 .« 8s5 . 



Join ; all ye creatures! to extol Him first, 
5s8 .r 8s5 .r | 5s8 .r 8s5 .r | 3 h 3 3 .1 .u | 

Him last, Him midst, and without end. 



As reference has been made to the numeral system of musical notation, some tune- 
are here given for illustration. 

That the system answers all the common purposes of vocal music, and is well 
adapted to juveniles and new beginners, has been abundantly demonstrated by experi 
ence. In regard to numerals being suitable characters, see the remarks of Dr. Mason 
on page 3. 

The letter A denotes the air, or first treble : B the base; Cthe second treble ; am! 
D the tenor. 

5 before G denotes the fifth key from C, which is G; and the letter G denotes the 
grand octave, or major key ; P denoting the plaintive, or minor. 

4 before Q denotes four beats in a measure, and Q denotes quick movement. 

For other explanations, see page 5. 

In singing, apply do to I, re to 2, &c, as shown on page 2. 

EVER DEFEND THE TRUTH. 

D5555I5553J5555J5 5 .3jj3431!3431 | 

W 'i REP. 

C 1 12 1 I 1 1 I 1 1 2 1 I 

4Q 7 7 

For the truth, then, let us battle. Whatsoevei 
5G 



.1 |i 1 1 1 1 1 1 1 
7 7 5 5 

fate betide : Long the boast that we ar 
_ freemen, 



A 3343|2231|3343|2 2-3 .1 || 5653|5653 

Long the boast ihat we are We have made, and published wide. 

5c £ freemen, REP. 



B 

4Q 



1 1 1 

7 



1 1 



5 5 



1 1 1 

7 



1 1 1 1 I 1 1 1 1 



He who has the truth and keeps it, 
Keeps what not to him belongs ; 

But performs a selfish action, 
That his fellow mortal wrongs. 

He who seeks the truth and trembles 
At the danger he must brave, 

Is not fit to be a freeman : 
He, at best, is but a slave. 

He who hears the truth and places 
Its high promptings under ban, 

Loud may boast of all that's manly. 
But can never be a man. 

Friend, this simple lay who heareth. 
Be not thou like either them, 

But to truth give utmost freedom. 
And the tide it rises stem. 

Be thou bold in speech and action : 
Time, erelong, will snrely test. 



5 5 .1 

Of the free-souled and the slavish, 
Which fulfils life's mission best. 

Be thou like the noble Roman : 

Scorn the threat that bids thee fear : 

Speak, no matter what betake thee : 
Let them strike, but make them heai 

Be thou like the first apostles — 

Be thou like heroic Paul: 
If a free thought seek expression. 

Speak it boldly — speak it all. 

Be thou like the great reformers i 
Be thou like our patriot sires : 

Fear not, in the path of duty, 
Opposition's hottest fires. 

Face thine enemies with firmness i 
Scorn the prison, rack, or rod: 

If thou hast but truth to utter, 
Speak; and leave the rest to God. 



vo 



GREENVILLE. 



> ,; — . —, 


-~. — .—, 




D 5 5-433|55 5-43 


| 3 3- 2 1 5 | 4- 3 4- 5 .3 


i! 


When the orb of mom enlightens 
\ 


> >» 5 >> » 5> 

Hill and mountain, mead and dell ; 

REP. 




11111 11 


I l l l l I .1 


li 


7 7 

When the dim horizon brightens, 
5G _ _ 


7 7 

And the serried clouds dispel ; 




A 3 3-211 |22 3-21 


i 5 5- 4 3 3 | 2- 1 2- 3> .1 


1 


4 Q » » » » 

Be thy gratitude ascending 
;g 1 


Unto Him whose name is Love. 

REP. 




B 1 1 1 1 | 11 


11 111! 


11 



4Q 

D 



5 5 



.1 



1 1-233144 3- 2111 1-233144. 3 



4Q 
5G 





11111 



REP. 1 S. 

iii l i i 



*q 5 5 

And the sunflower, eastward bendim 



5 5 

Its fidelity to prove 



A 3 3-4 5 5 16 6 5-43 [33-45 5 I 6 6 .5 



4Q 



REP. 1 S. 



B 1 



111 



11 11| 



4 4 



When the vesper star is beaming 

In the coronet of even; 
And the lake and river gleaming 

With the ruddy hues of heaven, 
When a thousand notes are blending 

In the forest and the grove ; 
Be thy gratitude nscending 

Unto Him whose name is Love. 



4 4 

When the stars appear in millions 

In the portals of the west. 
Bright bespangling the pavilions 

Where the blessed are at rest ; 
When the milky way is glowing 

In the cope of heaven above ; 
Let thy gratitude be flowing 

Unto Him whose name is Love. 



As the Exercises in this work are given in large, bold-faced letters, the book can 
be placed in front of the pupil, at some distance, thus allowing Ireedomof motion ill 
making gestures. When the work is used in the school room, the exercises may be 
copied on the black-board, from which the class may read in concert. 

It is believed that the study of elocution will be greatly facilitated by the mode ol 
illustration here given ; for the principles of the science are presented with certainty. 
,md not left to the sport of guess work. 

By reqttesl of several persons, some selections are introduced from the pen of the 
author. 



The Inaugural of Prof. Harrison, [of Moore's Hill College,] was 
certainly a very superior performance — noble in sentiment, ornate in 
style, broad in its range, and impassioned and eloquent in its declama- 
tion. — Rev. I. G. Chafee, cor, of Western Christian Advocate. 

The Baccalaureate Address by Pres. Harrison called forth rapturous 
rounds of applause, despite the effort to be staid and sober. His theme 
was, The vast importance ol the training and knowledge gained in 
collegiate instruction. I wish every young lady and gentleman in all 
our land could have heard that noble appeal, so full of truth, so rich in 
incident, so chaste in style, so eloquent, illuminating and convincing. — 
Rev. Dr. Moody, cor. of Cin. Gazette. 

Prof. Harrison delivered one of the best and most interesting lectures 
on Education to which we ever listened. Never before did we see an 
audience so much enraptured, or take so lively an interest in a lecture 
of this kind, as was manifested on this occasion; but it could not be 
helped when such eloquence, and so much truth were showered upon 
an audience, as Mr. H. did during the evening. We were glad to see 
a movement made to have him continue his lectures : if he 6hould, will 
he honor us with the same lecture again before he leaves. — London 
(Ohio) Chronicle. 

Prof. Harrison delivered an able address to a large audience on the 
Importance of Acquiring Knowledge, characterizing his theme in a 
most comprehensive review ol universal nature — a grand eulogy upon 
wisdom in its various developments. It is utterly impossible to do jus- 
tice to the speaker in attempting to give a report of this masterpiece of 
learned eloquence, abounding with forcible hits at the vices and follie> 
of the age. It could be appreciated only by being attentively heard. — 
Brookville American. 

Prof. Harrison's lecture on Temperance was a flow of eloquence and 
logic scarcely ever equaled in a lecture room. — Edinburgh (Ind.) 
Watchman. 

Throughout the entire discussion of the subject [Moral Education] 
there was exhibited a masterly skill in his arguments, an elegance and 
perspicuity in his style, a fervid and animated pathos in his manner, 
and a boldness and vigor of imagery in his elucidations, that are rarely 
if ever, excelled. — Springfield (Ohio) Pioneer. 

To say of the address of Prof. Harrison [at Fort Wayne College] 
that it was learned, profound, and elegantly composed, and most truly 
"a feast of reason and a flow ol soul," is but to feebly express the 
opinion of those who had the privilege of listening'to this rare produc- 
tion. — Fort Wayne Gazette. 

The lectures of Prof. Harrison were of extraordinary merit, full of 
thought, science, and startling facts. His eloquence is powerful ; and, 
possessing a superior education and knowledge, his lectures are not 
only fascinating to the ear. but highly instructive and overwhelmingly 
convincing to the most incredulous minds. — Liberty Herald. 
. Prof. Harrison delivered one of the most eloquent and convincing 
lectures we ever heard, Notwithstanding he talked for more than one 
hour and a half, not a person left the room, all giving him close atten- 
tion. — Vevay (Ind.) Reveille. 

The lecture of Prof. Harrison abounded in learning, eloquence, deep 
thought, and fine suggestions. The Professor established himself a man 
of purely cultivated mind. — Logansport Journal. 



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